Review: Kristen Wiig and Annie Mumolo Go on a Beach Romp

This image released by Lionsgate shows Phyllis Smith, left, and Vanessa Bayer in "Barb and Star Go to Vista Del Mar." (Lionsgate via AP)
This image released by Lionsgate shows Phyllis Smith, left, and Vanessa Bayer in "Barb and Star Go to Vista Del Mar." (Lionsgate via AP)
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Review: Kristen Wiig and Annie Mumolo Go on a Beach Romp

This image released by Lionsgate shows Phyllis Smith, left, and Vanessa Bayer in "Barb and Star Go to Vista Del Mar." (Lionsgate via AP)
This image released by Lionsgate shows Phyllis Smith, left, and Vanessa Bayer in "Barb and Star Go to Vista Del Mar." (Lionsgate via AP)

There's a tiny oasis on the west coast of Florida where the men wear Tommy Bahama from head to toe and women of a certain age stroll around poolside in tube tops and full jewelry.

It's a “middle-age Nirvana” where crabs talk and you can eat veal-stuffed manatee while wearing your evening culottes and sip tropical drinks served in a mini-aquarium.

This oasis is called Vista Del Mar and it's the whacky invention of Kristen Wiig and Annie Mumolo, who co-wrote and co-star in “Barb and Star Go to Vista Del Mar,” a gentle salute to women in their 40s getting their groove back.

Wiig and Mumolo, whose “Bridesmaids” was nominated for a screenwriting Oscar, are irresistible this time as two best friends who accidentally get wrapped up in a huge plot to destroy the Florida resort town.

“Barb and Star Go to Vista Del Mar” has some pleasant messages — like don't abandon a friendship over a boy, fight to keep your inner shimmer and you're never too old to grow. It's not gross or sharp, unless you find jokes about how tourists like gifts made of shells a little too close to home.

Wiig (Star) and Mumolo (Barb) play a particular caricature of a Midwestern woman — the hair is fluffy, they adore character socks and eat hot dog soup. Just a pair of very forgiving and kindly single gals from Soft Rock, Nebraska.

They are members of a Talking Club (run ruthlessly by Vanessa Bayer) and say things like, “It’s so funny to think all the racoons in the world are sleeping right now.” Somehow, the relentlessly optimistic pair don't get grating for viewers over its 100-minute run time. Director Josh Greenbaum's work is straightforward, wisely just letting these gals do their thing.

When their careers at a furniture store take a nosedive, Barb and Star decide on a Florida vacation. “Maybe something is telling us to do something different,” says Star to Barb. To which Barb replies: “Should we try those socks with individual toes?”

In Florida, they wander into a revenge plot laid by a James Bond-like villain (also Wiig) who wants to destroy her hometown of Vista Del Mar with killer mosquitos because residents were mean to her as a kid. The tip-off that's she's evil comes quickly; her lair has an elevator with a button labeled “Lair.”

There are roles for Jamie Dornan as a love interest, Damon Wayans Jr. as a bumbling spy, Reba McEntire as a water sprite and a hysterical turn by Andy García as Tommy Bahama, who delivers this line without cracking up: “It is time to mount the wind and ride it with the fierceness of a hippopotamus.”

Wiig and Mumolo are also behind many of the movie's songs, including the hotel lounge piano tune “Edgar's Prayer,” which is delivered to seagulls. Of course, there are classic beach bum songs, too, like “Cheeseburger in Paradise” and “Key Largo.”

The film nicely sends up spy capers, Broadway and buddy movies and is a lot like its two leading characters: Kindly, a little silly and as sweet as a candy-colored drink at the pool bar.



Remembering Quincy Jones: 10 Career-Spanning Songs to Celebrate His Legacy

Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
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Remembering Quincy Jones: 10 Career-Spanning Songs to Celebrate His Legacy

Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)

Few artists have legacies so mammoth their very name could be considered synonymous with the music industry, but then again, most musicians are not the prodigious producer Quincy Jones.

The larger-than-life figure died Sunday night at his Los Angeles home, surrounded by his family. He was 91 and scheduled to receive an honorary Academy Award later this month.

Across his career, the 28-time Grammy Award winning Jones worked with everyone from Ray Charles and Frank Sinatra to Michael Jackson with hundreds in-between. The best way to celebrate his legacy, of course, is to listen to the music he made.

1963: Ella Fitzgerald and Count Basie's orchestra, “Honeysuckle Rose”

Those looking to kickstart their Jones listening journey at the very beginning of his career could do so with “Liza,” from his first album, “Jazz Abroad,” a joint release with Roy Haynes. For everyone else, look to his arrangements on 1963's “Ella and Basie!,” an album by Fitzgerald with Count Basie's orchestra. Moving from just vocals and bass before building into its own grandness — not to mention, a delightful scat solo from Fitzgerald — “Honeysuckle Rose” from the album is an exemplar of Jones' jazz brilliance.

1963: Lesley Gore, “It’s My Party”

Teenage heartbreak met its match on Lesley Gore's “It's My Party,” recorded when its pop singer was still in her own adolescence. Jones produced the record, with its addictive melodies, percussion and cheerful horn section — emotionally and diametrically opposed to its narrative tale of a girl getting dumped by her boyfriend for her best friend on her birthday. You'd cry, too, if it happened to you.

1964: Frank Sinatra, “Fly Me to the Moon”

Jones' legacy is defined by an idiosyncratic ability to master various American musical forms with an apparent ease. That is the case of this canonized cover by Frank Sinatra, “Fly Me to the Moon,” from Sinatra's 1964 album, “It Might as Well Be Swing,” arranged by Jones. The producer set the song to a punchy, swinging rhythm and wistful flute, and the rest is history. You can also thank Jones for “The Best Is Yet to Come.”

1967: Ray Charles, “In the Heat of the Night”

Jones scored the 1967 film “In the Heat of the Night,” which includes its R&B-gospel title track, “In the Heat of the Night,” performed by his good friend Ray Charles. It is soul committed to wax, amplified by the inclusion of a lusty tenor sax solo.

1979: Michael Jackson, “Don’t Stop 'Til You Get Enough”

Perhaps Jones' best-known production partnership is the one he had with Michael Jackson, working with the King of Pop on his culture-shifting albums, 1979's “Off the Wall," 1982's “Thriller” and 1987's “Bad.” The pair met while working on the 1978 movie “The Wiz" — Jones worked on its soundtrack, and Jackson was its star. “Don't Stop ‘Til You Get Enough," with its inventive disco-funk, ambitious production and Jackson's signature falsetto set the stage for the massive career to come.

1981: Quincy Jones, “Just Once”

Put it in the pantheon of great piano ballads: On Jones' 1981 album “The Dude,” James Ingram takes over lead vocal duties for “Just Once,” the big-hearted and bigger-feelings track.

1982: Michael Jackson, “Billie Jean”

What songs are more immediately recognizable? An elongated drum and bass lick introduce “Billie Jean,” one of the great genre-averse pop songs of all time, from Jackson's record-breaking “Thriller" album. Here, Jones' production is post-disco, but still funky, still prescient. And time tells the greatest tale: “Thriller” sold more than 20 million copies in 1983 alone and has contended with the Eagles’ “Greatest Hits 1971-1975” among others as the best-selling album of all time.

1982: Donna Summer, “Love Is in Control (Finger on the Trigger)”

And now for something completely different: In 1982, Jones worked with Donna Summer on her self-titled album, a dance-forward record that includes the synth-y pop single “Love Is in Control (Finger on the Trigger)," which earned a Grammy nomination for best R&B vocal performance, female.

1985: USA for Africa, “We Are the World”

Nearly four decades ago, some of the biggest stars on the planet — Jackson, Bob Dylan, Tina Turner, Dionne Warwick, Billy Joel, Stevie Wonder, Willie Nelson and Bruce Springsteen among them — came together for an all-night recording session. The result was “We Are the World,” a pop superhit overseen by Jones, the 1985 charity record for famine relief in Africa.

Lionel Richie, who co-wrote “We Are the World” and was among the featured singers, would call Jones “the master orchestrator.”

1989: Quincy Jones with Ray Charles and Chaka Khan, “I'll Be Good to You”

Back in 1976, Jones produced the Brothers Johnson's R&B hit, “I'll Be Good to You,” and then re-recorded the track with Ray Charles and Chaka Khan — an ebullient number with contemporary production, completely transforming the classic.